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Through the Lens of an American In Paris
In July of last year my wife, daughter and I moved from Brooklyn, New York to Paris, France for one year. Many of you may have visited foreign countries, and some of you have lived in them, and for all of you that haven’t I would recommend it. One thing that has happened to me, not intentionally, was that living abroad has made me more self analytical, especially in terms of my identity as an American, than I thought it would. The reason I didn’t expect this, is because I don’t tend to think of myself as an American. I like to be that now clichéd citizen of the world. Still, I am an American who lives in Brooklyn, and is from Akron Ohio. I am a scientist and musician, so it is not surprising that I would tie my identity to one of those ventures. What is surprising is how much American arts in general are a part of what defines me, and defines American influence in Europe. More specifically though as a white mid westerner, it is the African American experience that not only remains arguably the most important cultural importation in France, but also the one that I feel the most personally connected to. The continued resonance of African American art can be seen in a variety places from the lobby of the Pompidou Center, to the photos in every piano bar. Popular music in my mind is impossible to credit to anything other than black spiritual, blues, jazz and r and b. In the visual arts the argument can also be made that post pop art has African American influences, especially in an Obama age, where artistic commentary must be seen through an African American lens. There is also a raised bar for athletic strength and beauty, which is African American in the ideal. It is associated with power, struggle and success. So this must mean that African American Art in Europe is flourishing. Unfortunately I don’t get the sense that it is. Instead these creations have been hijacked by European whites, much as they have been in the United States. Hijacking is a much too strong way of saying it, as there doesn’t seem to be such a malicious intention. Instead, contemporary European art, including music in 2010 seems to be similar to what Elvis was to the Blues in the 1960s. It is completely influenced by African Americans, but removed from it, so that it becomes only a commentary on it.
Here is where my personal experience comes in. I am one of these hijackers. I play jazz music. I buy Najee Dorsey art, and Mayweather is my favorite boxer. I feel somehow justified in this, as I am a scientist, and realize that there is virtually no biological distinction in race. That said there remains a cultural one. Europeans, and us white Americans, remain one step away from the source, meaning that the art that we create, and the art that sells in Europe is not African American, but rather a politely packaged minstrel show of paintings, sculptures and concerts. The problem is not that whites are creating black style works, but that it is not acknowledged as such, especially in the visual arts. In jazz this is not exactly the case. Paris has always embraced musicians from Ellington to Miles. They even had an exhibition on and of Miles Davis recently. The thing that you will notice though is that Ellington and Miles are of another era. The challenge will be the recognition and respect of the artists of our time.
Here is where my personal experience comes in. I am one of these hijackers. I play jazz music. I buy Najee Dorsey art, and Mayweather is my favorite boxer. I feel somehow justified in this, as I am a scientist, and realize that there is virtually no biological distinction in race. That said there remains a cultural one. Europeans, and us white Americans, remain one step away from the source, meaning that the art that we create, and the art that sells in Europe is not African American, but rather a politely packaged minstrel show of paintings, sculptures and concerts. The problem is not that whites are creating black style works, but that it is not acknowledged as such, especially in the visual arts. In jazz this is not exactly the case. Paris has always embraced musicians from Ellington to Miles. They even had an exhibition on and of Miles Davis recently. The thing that you will notice though is that Ellington and Miles are of another era. The challenge will be the recognition and respect of the artists of our time.
Comment
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Comment by Nathaniel on July 22, 2010 at 7:10am -
I think the defensiveness, stems from the political, economic and social space we're in now and also many years of conditioning that the art that is created by whites, Europeans, or those who mimic that form is the only thing happening and anything outside of those brackets will be considered other, outsider and less than. Which in Plato's words is not intelligent so to speak. When you hold on to that philosophy you're bound to not appreciate or accept things outside that definition. I also think the thing in terms of money is also about who is educated about their worth and other people's contribution. Only if you're educated about something can it be of any value unless one falls into a category of doing it because someone else says its good. What people don't realize sans the removal in history books that Picasso, Monet were both influenced by African arts. I know you know this, but I found out that so was Rauschenberg, Twombly, and DeBuffet. But that is hidden deep, deep, deep in the art history caves. I don't event think Rauschenberg or Twombly acknowledges it, but I don't know if its purposeful or that they just thought it wasn't crucial to do so. Regarding Warhol; I like the inventiveness, and branding using his work as an object or concepts/process as a mirror to reflect a consumer society, but I'm not a very huge fan of his. I more so like his concepts rather than the actual object which I know is the point. I do agree that process is as important or more important in art. Well, I think his personality is also something I'm not interested in. (great business man though) Interesting that Jacob Lawrence flatten the image out along with Aaron Douglas and there's no credit to that to them. I have to find out some dates on that. I think this goes back to what was discussed earlier.
I can't wait to see The Radiant Child". It should be here pretty soon in August. I will try and google that article and take a look.
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Comment by Matthew Putman on July 22, 2010 at 6:49am -
Thanks Fern and Nathaniel. As far as my white American and white European friends, they mostly would agree with me, though there does seem to be some defensiveness about this lately. I am not sure the reason. I think that many people misinterpret culture progress. In politics there may be a greater variety of races, that doesnt have anything to do with historical understanding of influence. Even in the recent New York Times review of the new documentary about Basquiat, I got the feeling that the writer was tentative about calling Basquiat a genius. I dont know if the writer was black or white, but it is clear to me that to fully accept a black artist as an innovator is to acknowledge an area where white art did not innovate, and that seems hard for people to do. Even though Jacob Lawrence, and Basquiat sell for a lot of money, it is unlikely that many white people will put them in the same class of invention as Picasso or Monet, or even Warhol.
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Comment by Nathaniel on July 22, 2010 at 5:45am
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This is very interesting perspective. Its also interesting that you see it that way, I think that many of the things Africans/ African Americans create get co-opted and is viewed as merely entertainment when its more to it than that. You being a musician know this because to truly be good one must live the music. I don't mean live the stories per se but live in the moment of the creativity and idea of the music; however living the story brings honesty and also clarity as well. I think the politicalization and (marginalization) of A/AA is one reason for such exploitation or using these art forms without any respect or reciprocity. But its great that you are a witness to some of that and acknowledge it. Question: How do your other (American whites, European) friends, peers, fellow musicians feel about your views on the issue?
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Comment by Fern Wilson on July 18, 2010 at 3:40pm -
I really enjoy reading your blogs. You're an excellent writer with great ideas. Keep it up!
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Comment by Sherry Ann (Bibbs) Williams on May 11, 2010 at 10:36am -
Thanks for the knowledge.
Sherry
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